Faith and Fashion: Clara Colette Miramon

Berlin Fashion Week offers many highlights, and one of them is the upcoming designer Clara Colette Miramon. Known for blending femininity with historical influences and contemporary design, Clara’s past collections have drawn inspiration from icons like Joan of Arc, Elsa Schiaparelli, and Surrealism, while one of her signature pieces is a handmade corset. This season, Clara presented her second-ever runway show – a highly anticipated event following her debut show last summer, which immersed the audience in a world of soft colors, magical creatures, uniforms, and boxing equipment.

The day after her second runway show at Berlin Fashion Week, SLEEK meets Clara at Chateau Royal near Unter den Linden in Berlin. In a cozy showroom just off the entrance, Clara is showcasing her new collection, titled ‘Maria has helped’ (originally ‘Maria hat geholfen’). Over a cup of coffee at a small round table, we sit down to discuss her new collection, religion, and the portrayal of women.

SLEEK: Hi Clara, how did it feel waking up this morning, knowing that the show is over?

Clara Colette Miramon: Oh my God, yes. I think it’s still not fully sinking in. But, yeah, I feel good.

S: That was your second show ever yesterday. What has changed since the first one?

CCM: I have spent a lot of time reviewing videos and photos from the first show to see how it went, and I feel like it was a big step up. We invested a lot of time in fittings, adjusting everything to the models, which made the show feel more high-quality. I don’t do a standard casting, so working closely with the models is crucial. The fitting process helps my collections a lot, and both the location and my team have gotten stronger.

S: Your collection is called “Maria has helped.” Why?

CCM: My inspiration came from devotional art. These are objects people leave in churches when their prayers are answered. I researched this a lot, especially after seeing the Flaming Hearts in Mexico, which I absolutely love. This metal art is also widely used in the orthodox church. In Germany, you have churches with marble plaques inscribed with “Maria has helped.” Every time someone has a major prayer answered, they buy a plaque and leave it in the church. I find the repetition of hundreds of these plaques fascinating. There’s something almost pop-art-like about this repetition. I also explored the theme of Mary, particularly the pregnant Mary, and the reverence she’s given in the Christian church.

S: Are you religious yourself?

CCM: I’m definitely interested in religion. I grew up Christian, and I spent a lot of time singing in church choirs. So I always had this connection. At some point, I didn’t feel as connected anymore, but I still find it fascinating. I think it’s beautiful what religion can give people. Of course, the church is problematic in many ways, but I really appreciate the architecture, the art, and many of the thoughts that come with it.

S: Did your collection have a critique, perhaps of the church or society?

CCM: I wouldn’t say it’s a critique of the church, but I find the view of women as just mothers quite limiting. I’ve been thinking a lot about it lately, especially as my friends have children for the first time, and as I get older. It’s interesting how a woman is defined by motherhood and loses her individuality. People don’t fully appreciate what women, especially mothers, do for us. What women go through with their bodies is incredible. This topic resonates with me and my friends, and it connects to how women are viewed in religion and art. In religious art, the pregnant woman is revered, but we should also celebrate women for everything they are: strong, sexy, cool, and more.

S: Did you go to churches in person to get inspiration?

CCM: Yes, I always do. I love visiting churches, especially when I travel. I find the atmosphere in them so beautiful. In Berlin, evangelical churches are less impressive than Catholic or Orthodox ones. Last year, I visited many in South America and Southern Europe, and the churches there are amazing. In Italy, for example, they’re incredible. The atmosphere is so calming, and when I see a church, if it’s open, I always go inside. You don’t get that feeling anywhere else. You can go to a museum, but it’s different – you’re expected to analyze every artwork. In a church, it’s more meditative.

S: Your previous collections have also been inspired by historical periods like Joan of Arc, Surrealism, and now Gothic and religious themes. You seem to be quite interested in history.

CCM: Definitely. I’m always fascinated by historical garments and construction methods, especially when it comes to women in history. It’s so important to understand how we got to where we are today. Women’s roles in history reflect so much about our present, and I think it’s essential to look back at how women were treated and represented.

S: Is there a particular woman right now who inspires or excites you the most?

CCM: Actually, there’s someone who’s not really connected to fashion, but I’m currently obsessed with Lesley Gore, the singer from the 60s. She was so cool, and her music was incredibly progressive for its time. She took a break from music to go to university, and then by the time the early 70s came, her style felt outdated, even though she was revolutionary before. It’s crazy how quickly things can change. Her song “It’s My Party (and I’ll Cry if I Want To)” is incredible, and I’ve been listening to her a lot lately while working in the studio.

S: What kind of atmosphere did you want to create for your show?

CCM: For me, I really wanted to have a church as the location because of all the things we’ve discussed, to create that atmosphere. But I also wanted to break with that atmosphere. We had a beautiful, imposing location, but I wanted to create a more early-2000s runway vibe with heavy beats, strong lighting, and a reflective floor. The modern, cool woman I wanted to show really needed that edgy, plastic quality.

S: It did remind me of Lady Gaga’s influence.

CCM: Oh my God, yes! That was definitely an inspiration. My partner Kin Amor made the track, and I recorded the vocals myself. It was very Lady Gaga-inspired! The track has those 2000s vibes.

S: Fashion and religion – that’s an intense mix. How did you bring these themes together?

CCM: It’s definitely challenging, but I think it works well. Fashion is a way for me to express ideas and personal reflections. The way religious art and clothing connect to femininity and pregnancy really speaks to me. Religious imagery has so much influence on how we understand womanhood in society.

S: And when you walked out at the end of the show, how did you feel?

CCM: It’s always a little intimidating. You’re not sure whether you should wave, laugh, or just stay quiet. I was nervous, but I just tried to enjoy it, and not worry too much about whether or not I looked weird. It’s a beautiful moment.